Review → Amanda Palmer – Who Killed Amanda Palmer (2008)
Amanda Palmer - Who Killed Amanda Palmer
If you were hoping for a review of some rockin’ punk CD, you’ll have to wait until tomorrow, kids. Maybe. Or whenever I listen to something I decide is really killer, or at least worth talking about. Right now, what’s worth talking about is this here solo debut from Amanda Palmer, most notably of Boston’s own Dresden Dolls, self-proclaimed “cabaret punk” (so I guess I’m reviewing a punk CD. Take that) band.
A little background: the Dolls have been kicking ass at venues all over the damn place since 2001. They gained prominence early for energetic live shows, eventually earning spots opening on national tours for bands like Nine Inch Nails and Panic! At the Disco. After two studio albums- 2003′s self-titled, and 2005′s Yes, Virginia…- and a couple of b-sides/rarities comps, the band has gone on hiatus while the members, pianist/vocalist/songwriter Palmer and drummer Brian Viglione, went off to pursue their own endeavors; Viglione taking a place with the World/Inferno Friendship Society, and Palmer heading to Nashville to record her long-planned solo record with Ben Folds.
Amanda has talked about a solo record for some time now, and it’s finally upon us. The record should feel familiar to fans of the Dresden Dolls; musically, many songs would fit in on Yes, Virginia…, and I’m fairly sure one or two of them have been played live a few times. The most notable change to the sound on the relatively unadorned tracks is that Amanda’s piano is accompanied by Zoe Keating (Rasputina) on cello. See “Ampersand” for an example; the song is just Palmer and Keating. Meanwhile, songs like opener “Astronaut (A Short History of Nearly Nothing)” and “Runs in the Family” sound like a outtakes from the Dolls’ second album. This is in no way a criticism; the band’s output was consistently high-quality, and Amanda keeps up the winning streak here.
After those three relatively straightforward tracks, the music starts reaching out a bit, with a bit of a bounce and horns on “Leeds United.” Speaking of “Leeds,” could someone please explain to me the relation between the title and the lyrics? I know it mentions LU in the chorus, but I really don’t get it. Anyway! “Guitar Hero,” while the title will probably get a giggle from the gamers listening in, is a rocker, and appropriately features East Bay Ray (Dead Kennedys) on guitar. I’d say his contributions aren’t big, time-wise, but when he kicks in, you can’t mistake his playing. Early in the song you can hear the cascading guitar, and it immediately brings to mind the opening to “Holiday in Cambodia.” The album version.
The songs are generally in line with Palmer’s usual lyrical themes. Apparently the songs span from all over her life; the somber, quiet “Strength Through Music” was written immediately following the Columbine shooting. “Oasis,” a natural single candidate based solely on its fantastic channeling of the Beach Boys in their prime, tells the story of a girl who gets raped at a party and has to get an abortion. The juxtaposition calls to mind “Mandy Goes to Med School” with a darker, more unsettling story.
This album isn’t a whole lot different from what one might have expected from a third Dresden Dolls album, to be honest. There are some misses (though nothing like “Me and the Minibar” or “672″ from the Dolls’ albums), but the album hits far more often. My only lasting criticism is in “Guitar Hero;” I love this song for the first… 3 minutes, I’d say, until she starts singing “You’re my guitar HEE-ROOH.” The way she sings “hero” just doesn’t do it for me. But it’s not a deal-breaker, since the rest of the song is killer. At any rate, this album should reassure anyone who might have been concerned following the hiatus of the Dresden Dolls.
Rating: 4 stars
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